Their drums are of two kinds. The most common is made like a tambourine without its bells, the skin forming the head being stretched over the hoop while wet and kept there by sinews being passed through it and the hoop a few inches apart. (Pl. 80, fig. 1.) The inside portions of the skin have cords made of sinew extending across from several places, meeting in the middle and forming a handle to hold it up by (2). It is held up in one hand and beaten with a stick by the other, no more beats being made than are necessary to correspond with the accents of the notes, thus preserving the time. The other kind of drum is made of a piece of hollow dry tree about 2½ feet long, scraped to a shell and smooth inside and out, resembling in shape a staff churn (3). The head or skin is stretched on the smaller end with a hoop, which is retained in its place by sinews passed through. The other is left open. When beaten but one stick is used, the drum being set on end. Both are often painted with different devices. The rattles, wag-ga-mó (Sioux) or Chi-chi-quoin (Cree), were originally and in a measure still are gourds dried with the seeds in, or after being dried the seeds, etc., are taken out and pebbles put in (4). Others are made of the rawhide of elk stretched over a slight frame of woodwork while wet and dried in that shape, pebbles being put therein at holes left in the top or in the handle (5 and 6). No. 7 is the rattle used by the “braves” in their dance. It is made of rawhide like the rest, but in the form of an open ring. No. 8 is the rattle made out of deer and antelope hoofs scraped thin and light, reduced in size, and a number of each attached to small strings, so closely that they clash together when shaken. The flute (9) is made of wood, and the whistle (10) is the wing bone of a swan. These have before been described. From what has preceded it will be understood that there are no verses in their songs evincing their patriotism, or other chants representing their triumphs; that all is chorus and tune. Their laments for the dead are of the same description, adding a few words and calling upon the departed by stating the degree of relationship, the few mournful words to deplore their loss, and the rest of the chant is in meaningless ejaculations. Their music is never recorded nor have they such things as music boards or bark songs. In their bacchanalian songs they often repeat catches of whatever comes into their minds at the time, adapting the words to the song, but these words or any particular expressions do not properly belong to the songs, which in their original are of the same description as the others. Many lullabies are sung to children by their mothers, but as usual but few words introduced, consisting mostly of humming of different tunes to put them to sleep, adding sometimes, “Sleep, sleep, my pretty child,” or “Red fox come here; you will get a marrow bone to eat”—this when they are 2 or 3 years old.